‘I’m Still Here’ Reminds Us of the Need for a Revamp in Brazilian Cinema

Filmotomy Editor-in-chief, Robin Write, asked the question: How do you feel about I’m Still Here landing a Best Picture Oscar nomination?

In one sense, recent developments in Brazilian cinema could be considered a victory. Including the huge success of I’m Still Here. However, they are ultimately a win for the cinematic elite that dominates the industry. Dictating the rules of content and shaping the narratives that reach audiences. More commercial and fictional projects – such as zombie films, science fiction, and other genres with broad appeal – are often dismissed as “Americanized” and unworthy of serious recognition. Meanwhile, this elite promotes a form of cinema that heavily criticizes the military, attacks governments with ideologies contrary to their own. And amplifies the notion that any opposing ideas are threats to democracy.

The numbers at the Brazilian box office are telling. In a country with approximately 215 million people, a film that reaches 3 million viewers is celebrated as a success. This means that less than 10% of the population engaged with the movie. Yet, for directors like Walter Salles, such results are seen as an achievement. This reveals a deeper issue. Brazilian cinema has become a product tailored for the national artistic elite, rather than for the broader public. While artistic recognition is valuable, it is also fraught with controversy when it disconnects from the audience it claims to represent.

Adding to the problem, Brazil is currently experiencing an exaggerated politicization of film. Every day, major news outlets like Globo, which owns and funds productions through Globo Filmes, act as if they have won the Oscars. Despite this not being the behavior of a truly competitive and globally relevant film industry. Talented filmmakers are overshadowed by a partisan cinema that has been pushing an outdated leftist agenda for far too long. Instead of fostering a diverse range of filmmakers and genres, the industry
remains monopolized by a select few. Ensuring that only certain perspectives make it to the big screen.

The Economic Divide in Brazilian Cinema

A major factor that contributes to this elite domination is wealth. Take Walter Salles, for example. He has an estimated net worth of $50 million USD. That means he has the luxury of dedicating himself to filmmaking without worrying about basic necessities like food or providing for his family. He is not burdened by the financial struggles that independent filmmakers face. Nor does he have to fight for funding in the way that true entrepreneurs in the industry do.

This is precisely why, as a rich Brazilian, he was able to win an Oscar for his films. Not for Brazilian filmmaking as a whole. His success is often painted as a victory for the national cinema. But in reality, it is a triumph of an elite class that has always had the resources and connections to thrive in the industry. Meanwhile, aspiring filmmakers, who lack financial backing and industry ties, are left struggling to secure opportunities. Often forced to compromise their creative vision to fit the narrow criteria set by funding bodies and cultural institutions.

Government Funding: Supporting the Rich Instead of Entrepreneurs

The government, instead of investing in a more diverse and sustainable film industry, continues to funnel taxpayer money into projects by already wealthy filmmakers. Through organizations like BNDES (the National Bank for Economic and Social Development), substantial amounts of public funding are allocated to high-budget productions. Reinforcing an exclusive system that benefits a select few while neglecting the broader film community.

Rather than supporting entrepreneurs who are genuinely striving to break into the market, government-backed institutions pour money into projects that align with a specific ideological agenda. These films are often disconnected from mainstream audiences, failing to attract widespread public interest. The result? A film industry that remains stagnant, failing to evolve with the changing tastes of Brazilian viewers and the global film market.

A New Vision for Brazilian Cinema

Brazilian cinema urgently needs a revamp. One that truly represents the diversity of the country. The Brazilian people deserve to see themselves on screen as they are. Not as political caricatures. Not as ideological mouthpieces. And certainly not as the outdated stereotypes of “poor, ignorant, and womanizing” individuals that many films continue to portray.

The path forward should involve:

• Encouraging new voices and genres: Brazil should embrace commercial storytelling, including science fiction, thrillers, and action films. Rather than solely investing in politically charged dramas.
• Supporting independent and emerging filmmakers: Instead of funneling public money into elite circles, funds should be directed toward startups and independent film collectives that reflect the diverse narratives of Brazil.
• Diversifying distribution platforms: Streaming services, social media, and alternative cinema networks should be leveraged to break the traditional monopoly of major production houses.
• Depoliticizing film funding: The selection criteria for public funding should prioritize storytelling and audience engagement rather than ideological alignment.

Only by embracing true diversity in content and creators can Brazilian cinema achieve both artistic and commercial success, nationally and internationally. It’s time to move beyond the outdated model of elite-driven cinema. And create a film industry that truly serves the people.